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Jesse Ly’s try, take time – take time, try brings together photographic, sculptural, and installation works that navigate the tensions between care and labor. The exhibition examines how tenderness coexists with the discipline and intensity required to create change, using sequences of images and symbolic gestures to explore protection, affirmation, and preparedness as active forms of making. The works consider the interplay between softness and firmness, demonstrating how conviction can exist alongside compassion. Ly’s compositions blend multiple emotional and conceptual registers, creating spaces where the practical and the poetic intersect. Each piece engages with the processes of maintaining ideals, fostering care, and holding space for possibility, inviting viewers to reflect on the balance of effort and attention in personal and communal life. Through repetition, layering, and careful sequencing, Ly cultivates a visual rhythm that mirrors the persistence and endurance inherent in both labor and emotional care. The exhibition foregrounds the agency of making, illustrating how intentionality and attentiveness shape outcomes and allow space for human connection. Objects, images, and installations work together to suggest the nuanced strategies needed to navigate complex emotional and social landscapes. Ly’s practice is informed by a commitment to exploring the material and conceptual possibilities of image-making. The works resonate across scales, from intimate gestures to immersive installations, emphasizing the relational and performative qualities of care. By combining multiple forms and approaches, try, take time – take time, try challenges viewers to consider how softness, rigor, and attentiveness operate in tandem, revealing the labor embedded in acts of sustaining, protecting, and nurturing both ideas and communities. The exhibition underscores the potential of art to reflect and shape our engagement with time, care, and responsibility. Ly’s integration of photographic, sculptural, and installation practices offers a compelling meditation on how making can embody both vulnerability and strength, fostering reflection, empathy, and the cultivation of enduring connections. Image: © Jesse Ly

Gordon Parks: The South in Color, presented at Jackson Fine Art from April 2 through June 13, 2026, revisits one of the most powerful photographic projects of the twentieth century. Organized in collaboration with The Gordon Parks Foundation, the exhibition commemorates the seventieth anniversary of the publication of Parks’ groundbreaking photographs of the segregated American South in Life magazine. Bringing together more than thirty images from the celebrated Segregation Story series, the presentation offers a renewed perspective on a body of work that continues to resonate with extraordinary emotional depth and historical significance. During the summer of 1956, Gordon Parks traveled to Mobile to document the daily lives of African American families living under the strict realities of racial segregation. Working primarily with a twin-lens Rolleiflex camera, Parks chose to photograph the story in color, an unusual decision for documentary photography at the time. The resulting square-format images capture quiet yet profound moments within the Thornton family and their extended community. Scenes of everyday life—children at play, family gatherings, and simple acts of resilience—stand alongside powerful symbols of segregation, including the now-iconic photograph At Segregated Drinking Fountain. The exhibition is curated by acclaimed photographer Dawoud Bey, whose scholarship and artistic practice often explore the layered histories of African American life. Through his curatorial approach, Bey highlights the remarkable visual sensitivity present in Parks’ images. Rich colors, balanced compositions, and careful attention to gesture reveal lives shaped not only by hardship but also by dignity, intimacy, and endurance. The photographs convey a deep respect for the individuals who appear within the frame, transforming documentary observation into a form of visual poetry. Alongside the historic photographs, the exhibition introduces a newly released limited-edition portfolio titled The South in Color, published to mark the twentieth anniversary of the Foundation. The portfolio emphasizes Parks’ recurring attention to children, whose presence often anchors the emotional center of the series. Across these photographs, youth becomes a symbol of continuity and quiet hope within a deeply divided society. Seen today, the images remain both historical testimony and enduring works of art, reminding viewers of photography’s unique ability to illuminate injustice while affirming the humanity of those who stand before the lens. Image: Untitled, Shady Grove, Alabama, 1956 (37.036) from The South in Color Portfolio (37.160), 1956. © The Gordon Parks Foundation, courtesy of the Jackson Fine Art gallery.

Fast Forward: Analog Photography as a Third Space, on view from April 10 through June 13, 2026, brings renewed attention to the enduring relevance of film-based practices at a moment when image culture feels increasingly saturated and accelerated. Gathering prize-winning works alongside a wide selection of emerging and established photographers, the exhibition frames analog photography not as a nostalgic return, but as a deliberate and timely response to contemporary visual overload. Curated by Aline Smithson and Dr. Rotem Rozental, the project examines how photography functions as a social and material space—one shaped as much by process as by image. In contrast to the frictionless production of digital media, the artists presented here embrace slowness, imperfection, and tactility. Grain, chemical traces, and subtle tonal shifts become essential elements rather than flaws, anchoring each photograph in time and physical reality. The exhibition highlights a range of approaches, from traditional darkroom printing to experimental manipulations of film and light. While the visual languages vary, a shared sensibility emerges: an insistence on presence. These works resist the disposability often associated with contemporary imagery, inviting sustained attention and a closer reading of surface and detail. In this context, repetition, delay, and manual intervention operate as creative tools, shaping both the image and the experience of viewing it. Beyond the images themselves, Fast Forward points to the communal dimension of analog practice. Darkrooms, workshops, and shared studio environments foster exchanges that extend beyond the solitary act of picture-making. Photography becomes a site of dialogue, where knowledge circulates through hands-on engagement and collective experimentation. This emphasis on connection underscores the idea of a “third space,” situated between tradition and innovation, solitude and collaboration. In an era increasingly defined by automation and speed, the exhibition suggests that the future of photography may lie דווקא in its oldest methods. By reasserting the value of process, material, and time, these artists reaffirm photography’s capacity to remain both deeply personal and profoundly human. Image: 1st Place Winner – Chandler Nelson Hubbard, A Funeral Home for Fish © Chandler Nelson Hubbard, courtesy of LACP

At Donald Ryan Gallery, the exhibition Devlin Claro: Crushing, on view from April 30 to June 13, 2026, introduces a new body of work that deepens the artist’s exploration of contemporary urban life. Born in Queens in 1995, Devlin Claro approaches photography as a constructed practice, staging scenes that blur the boundaries between observation and invention. This latest presentation expands his visual language through large-format prints and an installation that heightens the immersive, cinematic quality of his images. Claro’s work draws extensively from the outer boroughs of New York, which he describes as a “middle world,” neither central nor peripheral. In these transitional spaces—parks, residential streets, bridges, and overlooked corners of the city—he constructs scenes that feel both familiar and quietly disquieting. Often shaped through reenactment and careful staging, the photographs resist clear narrative resolution. Clothing, architecture, and lighting obscure temporal markers, situating the images in an ambiguous moment that hovers between past and present. A defining element of the series lies in its attention to infrastructure and atmosphere. The warm, fading glow of sodium-vapor streetlights, now largely replaced by LED systems, casts the city in an amber haze that evokes a pre-digital threshold. Within this light, elements such as rail lines, bridges, and municipal structures take on a heightened presence, subtly pointing to the political and economic systems that shape urban experience. Parks appear emptied of their social function, while built environments emerge as both backdrop and active force, reflecting the unease and complexity of contemporary life. The exhibition coincides with Claro’s inclusion in Greater New York at MoMA PS1, a recurring survey known for spotlighting emerging artists working across the metropolitan area. Educated at The Cooper Union, Claro continues to develop a practice that engages photography, film, and video, with works held in collections such as Huis Marseille, Museum for Photography. At Donald Ryan Gallery, Crushing offers a measured yet evocative portrait of a city in flux, where the ordinary becomes a stage for broader reflections on surveillance, memory, and the shifting textures of American life. Image: © Devlin Claro

Culture Crops: Ohio’s Hidden Gardens and Secret Food Histories unfolds at the Richard and Carole Cocks Art Museum as a vivid exploration of the deep connections between land, memory, and nourishment. Through the lens of photographer Tina Gutierrez, the exhibition gathers a series of portraits that honor the individuals and communities shaping Ohio’s agricultural landscape. These images move beyond documentation, offering an intimate encounter with people whose lives remain rooted in cycles of planting, tending, and harvesting. Gutierrez approaches her subjects with a sensitivity that emphasizes presence and dignity. Farmers, foragers, and gardeners appear within their environments, often surrounded by the crops that define their labor and heritage. The photographs carry a quiet intensity, revealing the layered histories embedded in everyday practices. Indigenous knowledge, immigrant traditions, and local ingenuity converge in these portraits, forming a collective narrative that speaks to both continuity and adaptation across generations. The exhibition extends into moving image through Asa Featherstone’s video interviews, where voices and gestures deepen the visual experience. Personal stories unfold with candor, tracing journeys shaped by migration, resilience, and community ties. Accompanied by historical insights into regional foodways, the project situates these lived experiences within a broader cultural framework. Together, image and testimony create a space where the act of growing food becomes inseparable from identity and belonging. At its core, Culture Crops reflects on the often unseen networks that sustain daily life. Gardens, whether expansive or modest, emerge as sites of knowledge, care, and resistance. The exhibition invites a reconsideration of how food circulates—not only as sustenance, but as a carrier of stories and relationships. In bringing these narratives to light, the project affirms the enduring significance of local practices while encouraging a renewed awareness of the histories that shape what we eat. Image: Tina Gutierrez, 2024. “Madonna of the Garden.” Jordyn Flowe and Obadiah with Early Girl Tomato at Melrose Garden, Cincinnati. © Tina Gutierrez.

Mike Brodie, on view from May 2 to June 13, 2026 at Casemore Gallery, marks the gallery’s first solo exhibition with the American photographer, whose work has come to define a raw and immersive vision of life on the margins. Known for his early years documenting freight train travel across the United States, Brodie’s images offer a perspective shaped not by observation from afar, but by lived experience within the communities he photographs. Brodie’s entry into photography begins almost by accident, after discovering a Polaroid camera in the early 2000s. What follows is a period of constant movement, as he travels alongside a network of drifters, hitchhikers, and train hoppers. Shooting under the name “The Polaroid Kidd,” he produces a series of intimate portraits and scenes that capture both the harshness and camaraderie of transient life. These early works, characterized by their immediacy and physical closeness, quickly gain recognition for their unfiltered portrayal of a rarely seen subculture. As materials change, so does his approach. The transition from Polaroid to 35mm film marks a shift toward a broader narrative, culminating in the publication of A Period of Juvenile Prosperity. The book receives widespread acclaim and situates Mike Brodie within a lineage of American photographers concerned with movement, identity, and the open road. His photographs echo earlier traditions while maintaining a distinctly contemporary sensibility, rooted in personal connection rather than detached documentation. After stepping away from photography for several years, Brodie returns with new work that reflects a different phase of life. His more recent images, gathered in the monograph Failing, trace a quieter yet no less intense exploration of relationships, labor, and introspection. The focus shifts from collective experience to more personal narratives, revealing the passage of time and the complexities that accompany it. This exhibition brings these trajectories into focus, presenting Brodie’s practice as both a record of a specific moment and an ongoing inquiry into belonging and survival. His photographs remain grounded in empathy, offering a view of American life that resists simplification while retaining a sense of immediacy and truth. Image: Mike Brodie, #5060, 2025, Archival Pigment Print © Mike Brodie, courtesy of the Casemore Gallery

Jonathan Calm – To Wherever, Forever: Archives of Absence & Sites of Passage, on view at Santa Clara University from February 5 to June 13, 2026, is a layered and quietly powerful meditation on movement, memory, and the landscapes shaped by exclusion. Working across photography, video, embroidery, and installation, Calm traces how histories of erasure persist within the American terrain, revealing places where beauty and violence occupy the same ground. Presented at the de Saisset Museum, Archives of Absence examines sites where communities and lives have been displaced or submerged. In the Ghost Ship photographs, the iconic Phantom Ship of Crater Lake is transformed into a drifting vessel, hovering between myth and history, migration and mourning. This spectral image resonates with the legacy of forced journeys, while remaining rooted in a specific American landscape. Elsewhere, Drown Town uses embroidered photographs to restore visibility to towns erased by dam projects, each stitch acting as a quiet act of remembrance. Cyanotype grids of hurricanes further expand this archive, underscoring how environmental catastrophe repeatedly impacts marginalized communities. The exhibition also confronts geographies of racial exclusion. In Sundown Town, embroidered images mark places where Black presence was once violently restricted, surrounded by road signage that transforms the gallery into a space of warning and witness. Across campus, at the Art & Art History Department Gallery, Sites of Passage revisits locations listed in the historic Negro Motorist Green Book. Through photographs, targets bearing the names of victims of police violence, and videos filmed from inside a moving vehicle, Calm collapses past and present, turning travel into both testimony and vigil. Together, these intertwined exhibitions form an unsettled map of the United States—an archive built from fragments, absences, and slow looking. Calm invites viewers to consider how movement through space can become an ethical act, and how remembering, like travel, demands attention to what has been left behind as much as what lies ahead. Image: Jonathan Calm, Green Book (Lorraine Motel), 2016. Archival Pigment Print, 20" X 20" Courtesy of the Artist and Rena Bransten Gallery © Jonathan Calm

John Coplans brings renewed attention to one of the most radical and uncompromising bodies of self-portraiture in the history of photography. Presented as an installation devoted entirely to his late works, the exhibition foregrounds Coplans’s sustained examination of the aging body as both subject and material. Created over several decades, these photographs reject idealization and instead insist on presence, weight, and physical truth. Coplans’s self-portraits are immediately striking for what they withhold. His face is never shown. Rather than offering expression or identity through recognizable features, he fragments his body into parts—hands, feet, torso, back—rendered at monumental scale. Wrinkles, sagging skin, scars, and folds become landscapes of lived experience. By removing the face, Coplans dismantles conventional portraiture and redirects attention toward the body as a site of time, endurance, and vulnerability. The work confronts deeply ingrained cultural anxieties surrounding aging, masculinity, and visibility. In a visual culture that privileges youth and smoothness, Coplans places his older body front and center, unembellished and unapologetic. The large prints amplify every detail, transforming what is often hidden or dismissed into something confrontational and dignified. These images do not seek sympathy or nostalgia; they assert the legitimacy of aging as a subject worthy of sustained attention. Technically rigorous and formally precise, Coplans’s photographs often consist of multiple panels that echo classical sculpture and modernist abstraction. The body becomes both sculptural and resolutely human, oscillating between form and flesh. This tension gives the work its power, situating it within broader conversations about art history, self-representation, and the limits of beauty. Installed on the Gallery’s fourth floor, John Coplans offers a rare opportunity to encounter these works in dialogue with one another, emphasizing their cumulative force. Seen together, the photographs form a sustained meditation on time’s passage and the courage required to face it directly. Coplans’s legacy endures as a reminder that honesty, rigor, and self-scrutiny remain among photography’s most enduring strengths. Image: John Coplans, Frieze, No. 4, Three Panels, 1994. Nine gelatin silver prints on board. Yale University Art Gallery, Gift of Robinson A. Grover, B.A. 1958, M.S.L. 1975, and Nancy D. Grover. © The John Coplans Trust

This exhibition presents an extraordinary selection of paintings and photographs from the collection of Dan Shogren and Susan Meyer, highlighting the multifaceted legacy of industrial art in the early twentieth century. Spanning from the late 1920s through the early 1940s, the works reflect a period when art and industry were deeply intertwined—each influencing how modern life, labor, and progress were imagined and represented. Through this lens, the exhibition reveals how artists found poetry in the machinery of modern existence, even amid uncertainty and transformation. At a time defined by economic struggle and rapid technological change, artists such as Harry Gottlieb, Edmund Lewandowski, and Ben Shahn depicted factories, construction sites, and workers with both critical and aesthetic precision. Their paintings capture the tension between human effort and mechanical power, offering images that are as much about endurance and adaptation as they are about innovation. Alongside these painters, photographers including Margaret Bourke-White, Walker Evans, and Dorothea Lange documented the industrial and social landscapes of the era with stark honesty and empathy, transforming real-life scenes into visual chronicles of modern America. Together, these works form a dialogue between two artistic mediums—painting and photography—that sought to interpret the same world from different vantage points. Whether through the stylized geometry of industrial forms or the unflinching realism of documentary imagery, each piece contributes to a deeper understanding of how artists responded to the shifting balance between human labor and mechanized production. The collection celebrates a pivotal moment in history when creativity became both a mirror and a critique of industrial progress, reminding us that art has always been a means to confront, interpret, and humanize the forces that shape our world. Image: Walker Evans (American, 1903–1975), Graveyard, Houses, and Steel Mills, Bethlehem, Pennsylvania, 1935, gelatin silver print, The Shogren-Meyer Collection. © Walker Evans

Tó Łitso (Yellow Water): Ten Years after the Gold King Mine Spill, presented at the Block Museum of Art, revisits one of the most visible environmental disasters in recent American history through a lens that is both intimate and expansive. A decade after the 2015 Gold King Mine spill sent millions of gallons of toxic wastewater coursing through the Animas and San Juan Rivers, artist and anthropologist Teresa Montoya retraces the path of contamination, revealing its enduring imprint across landscapes and communities. Montoya’s project begins as a journey, following the flow of polluted water from Colorado into New Mexico, but it quickly unfolds into a layered examination of consequence. Her photographs do not settle for documentation alone. They register subtle traces of damage—discolorations, altered terrains, and quiet moments of disruption—while also capturing the resilience of the communities who continue to live with these conditions. In doing so, the work resists the spectacle often associated with environmental catastrophe, focusing instead on its prolonged aftermath. What distinguishes Tó Łitso is its interdisciplinary approach. Photographic images are presented alongside sound recordings, water samples, and mapping data, creating a dense network of information and perception. This combination underscores water as more than a resource; it becomes a carrier of memory, culture, and harm. For Indigenous communities, particularly within the Navajo Nation, water holds deep spiritual significance, and its contamination reverberates far beyond physical health, touching identity, tradition, and continuity. Montoya’s work challenges conventional narratives of environmental damage by foregrounding Indigenous knowledge systems and lived experience. Rather than isolating the spill as a singular घटना, the exhibition situates it within a broader history of extraction and neglect in the American Southwest. The images, at times strikingly beautiful, at others unsettling, reflect this tension between visibility and invisibility—between what can be seen and what persists beneath the surface. Ten years on, Tó Łitso offers neither closure nor resolution. Instead, it insists on attention, asking viewers to consider how environmental crises continue to unfold over time, and how their effects remain embedded in both land and life. Image: Teresa Montoya (Diné, born 1984), Tó Łitso #22 (Yellow Water #22), from the series Tó Łitso (Yellow Water), 2016, Inkjet print. Mary and Leigh Block Museum of Art, Northwestern University, Block Board of Advisors Endowment Fund purchase. Image courtesy of the artist

At the Block Museum of Art, Hamdia Traoré’s “Des marabouts de Djenné” and Muslim Portraiture in Mali brings into focus a living tradition rooted in one of West Africa’s most historically significant cities. Djenné, long recognized as a center of Islamic scholarship, provides both the backdrop and the subject for Traoré’s quietly compelling portraits, produced in close dialogue with the community he knows intimately. The series centers on marabouts—religious teachers and spiritual guides whose roles extend beyond instruction to include healing and mediation. Seated in composed, frontal poses, each figure appears surrounded by the tools of his practice: Qur’anic tablets, prayer beads, manuscripts, and protective amulets. The repetition of this visual structure establishes a sense of continuity and shared purpose, while subtle variations in posture, expression, and setting affirm the individuality of each subject. The earthen architecture of Djenné, with its distinctive textures and light, frames these encounters, grounding them in a specific cultural and geographic context. Produced during a period marked by political instability in Mali, the photographs carry an added weight. They do not document crisis directly, but instead foreground endurance. The marabouts’ presence, calm and assured, suggests the persistence of knowledge systems and spiritual practices that have weathered generations of upheaval. In this sense, the work operates as both portraiture and testimony, offering a counterpoint to narratives that often reduce the region to conflict alone. The exhibition expands this dialogue by placing Traoré’s color images alongside mid-20th-century black-and-white portraits drawn from the Archive of Malian Photography. Works by Mamadou Cissé, Abdourahmane Sakaly, and Tijani Sitou echo similar compositional strategies, revealing a lineage of representation that spans decades. Seen together, these photographs trace shifts in style and context while underscoring the enduring significance of the marabout figure. Rather than presenting a fixed ethnographic view, the exhibition opens a space for reflection on authorship, continuity, and cultural self-representation. Through Traoré’s lens, portraiture becomes a means of affirming identity while engaging a broader visual history that continues to evolve. Image: Hamdia Traoré (Malian, born 1992), Yelpha Djiété, Marabout et Maître Coranique. Il est Imam de la Grande Mosquée de Djenné-Konofia (Yelpha Djiété, Marabout and Qur’anic Teacher. He is Imam of the Great Mosque of Jenne-Konofia), from the series Des marabouts de Djenné (Marabouts of Jenne), September 2018, printed 2023, Inkjet print, pigment-based. Mary and Leigh Block Museum of Art, Northwestern University, Irwin and Andra S. Press Collection Endowment Fund purchase. 2022.17.20. Image courtesy of the artist.

Streetwise, presented at the Bronx Documentary Center from April 9 to June 14, 2026, offers a vivid immersion into the layered realities of urban life as seen through the lens of Martha Cooper. Widely recognized for her early documentation of graffiti and Hip Hop culture in New York, Cooper expands that narrative here, revealing a practice rooted in curiosity, proximity, and long-term engagement with communities often overlooked or misunderstood. The exhibition brings together images that trace the vitality of the Bronx across decades. From the improvised architecture of casitas—hand-built structures that reflect cultural memory and communal pride—to the kinetic energy of street racing and BMX riding, Cooper captures a city defined by invention and resilience. Her photographs of breaking and graffiti retain their historical significance, yet they also feel immediate, grounded in the lived experience of those who shaped these movements from within. Cooper’s approach remains direct and unembellished. She photographs at street level, often in close proximity to her subjects, allowing moments to unfold naturally. This method fosters a sense of trust and familiarity, evident in the candid expressions and gestures that populate her images. Whether documenting artists at work, children at play, or gatherings in shared spaces, she emphasizes participation over spectacle, revealing the rhythms of everyday life. Beyond New York, the exhibition extends to other urban environments, including scenes from Southwest Baltimore and early work made in Tokyo. These photographs echo similar themes of subculture, identity, and creative expression, suggesting connections that transcend geography. Across continents, Cooper observes how individuals claim space, transform their surroundings, and leave marks—both temporary and enduring. Streetwise stands as a testament to a lifetime of attentive looking. It affirms photography’s ability to preserve fleeting moments while honoring the communities that give them meaning, offering a record that is at once historical, personal, and deeply human. Image: © Martha Cooper